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15th September 2007 at the Music Centre Chapel Reviewed by David Smith A moderate sized audience was treated to guitar playing of a high professional standard with a display of musicianship second to none. From the opening movements from Bach’s 2nd Lute Suite a clearly defined and mature musical mind was in evidence. What came through immediately was a strong sense of style, clarity and balance of voicing with well articulated dialogue between the contrapuntal elements. After the Prelude and a beautifully sustained Sarabande the Gigue and Double revealed a performer very much in form and at the top of his game. With a strong sense of rhythm and well focussed tonal articulations Byzantine’s immaculate phrasing was well established and never in doubt. These elements were continued into the set of variations on Handel’s Harmonious Blacksmith by Giuliani. This work contained parts transcribed from the original linked to the composer’s own invention together creating a work with a marvellous set of contrasting musical textures. Clarity of thinking and expression was once again the hallmarks of Byzantine’s performance. This piece also provided a subtle link between the Baroque items and the neo-Romantic Theme varie et Finale by the Mexican Manuel Ponce. This work, dating from the 1920’s, had at times a jazz-like feel with many altered chords and chromaticism. By the close of the Finale the scene was set for the remaining Spanish and South American items on the programme. The two famous works by Rodrigo (En los trigales and Fandango) brought the first half to a spectacular conclusion. The first work was superbly played with exquisite rhythmic control and while the second work had moments of uncertainty there remained overall a display of technical and musical virtuosity. Opening the second half were two familiar works by the Argentine tango maestro Astor Piazzolla. Byzantine’s arrangement of Verano Porteno is complex and full of interplay between the many ideas while La Muerte del Angel is more straight forward but without any loss of intensity. Between these and the set of Albeniz pieces was the familiar Sonatina by F.M.Torroba. This work is full of cheerful melodies and toe tapping rhythms with a very beautiful middle movement. Surrounded by the other more adventurous Spanish composers the work comes across as rather conservative albeit with a pleasant excursion into the more gentle aspects of Spanish music. The impressionistic and programmatic works by the great Spanish pianist Isaac Albeniz re-awakened the Spain of Rodrigo and were superbly arranged and delivered by the performer. Rumores de la Caleta rippled along with cascading variations and a vitality that made one forget that these were originally piano pieces. The substantial Torre Bermeja inspired by the vermilion tower in the Alhambra concluded the programmed items and provided a fitting climax. The Carnavalito from Jose Merlin’s Suite del Recuerdo was a suitable encore and allowed the performer and audience to return to a normal state of consciousness after the demands of this high quality programme. Since his first visit here in 1990 Julian Byzantine has delivered a vast range of high quality music delivered with professionalism and passion. This performance will be remembered and treasured as one of the best. |
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